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Broken Toys 25 Is a Personalzine by Taral Wayne

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Broken Toys 25 Is a Personalzine by Taral Wayne Broken Toys 25 is a personalzine by Taral Wayne. Despite the best of intentions, I’ve made little progress on backlogged projects since last month. The usual excuses apply … as well as others that will become evident in the issue. Without intending to, I have almost too much material, as well as a letter column that just won’t quit… But that’s okay; bring it on! As I have for the last 23 years, I live with a view to die for at 245 Dunn Ave., Apt. 2111, Toronto, Ontario M6K 1S6. If you can’t drop by to share the view, contact or loc me at this all new address, [email protected] . The official date is January 2014 … though distribution is at least a week late, in February . This is ExtraTaraltoriality (or Kiddelidivee Books & Art) 275, © 2014 Taral Wayne The World Begins Anew Egotorial – When I began Broken Toys , I didn’t have a Master Plan. I set out to publish some of my own writing in a easy-to-produce format and to entertain people. I had no set schedule, nor any plan to discontinue at some point. To my surprise, the zine gained a substantial letter column, and grew from 10, to 14, to an astonishing 32 pages last issue. That’s not very impressive if we’re talking about Challenger or SF Commentary , I grant you. But, apart from the letter column, I write every word of Broken Toys myself, and have kept to a monthly schedule for two entire years. Nor have I stopped contributing to other fanzines. As well, I’ve written, on average, three locs every month. Guess what? I’m a little tired. I’m also beginning to miss the drawing board a little. I have reams of drawings I’ve begun but never finished. It would be nice to catch up. Additionally, I may have caught the bug to write more fiction. “The Canaries in the Dark,” a story I wrote and hope to sell is not great literature, I grant you, but I enjoyed writing it. I also enjoyed writing “Fly on the Wall,” in this issue, as well as other fiction about fandom such as “The Namebadge” ( Askance 28 ), and “Why They Race Horses” ( FanStuff 21 ). I have made a tentative start on a new story called “Only Once a Year,” and though I’ve had to put it aside for the time being, the excitement hasn’t entirely worn off. What’s all this mean for my several loyal readers? Shorter issues of Broken Toys , I think. Possibly even a slower schedule. Two months between issues would not only give me more breathing space, but also give my regular letter writers some rest. Another means of slowing down is to reprint some of my previously published material. Eric Mayer published a number of pieces I was particularly pleased with in eDitto . However, he’s convinced that few fans ever read eDitto , and he’s half- convinced me as well. Of course, I’m not entirely in control of Broken Toys . It often seems to have a mind of its own, so we’ll have to wait to see what happens. Another probable repercussion is that I expect to do less writing for other fanzines. To be honest, the thrill of seeing my name in print in a fanzine is not as electrifying as it once was. I dare say my reaction has even begun to run toward indifference. It’s only natural that I want to keep up with a few favourites, of course. It should be easy to contribute to File 770 , since Mike Glyer has only published about once a year for quite some time now. I think I can keep up with Banana Wings, too – though the quarterly schedule is a challenge that I failed for two issues running last year. I’m fond also of Askance and Challenger . It goes without saying that I’m obliged to support my fellow Canadian Publishing Jiant, Graeme Cameron, if possible. Chunga ? Andrew Hooper has a couple of short pieces that he likes. Beyond that, the seeing is hazy, the future obscure. It is a new year with this issue. To quote the Muppet Show chorus, it’s time to get things started: “Hello, My name is Mr. Peabody, and this is my boy, Sherman. Sherman? “Yes, Mr. Peabody?” “Set the Wayback Machine for the year, 1992!” “Oh, my Gosh! We’re not really going to Confurence III, are we?” “Yes, we are, Sherman.” 2 “Well, fuck that, Mr. Peabody! That’s ancient history.” So you might say, if you have trouble remembering as long ago as that. Worse, for some young fans, 1992 was before they were even born. Confurence III, though, was the year that I was asked to be one of the Guests of Honour and, not coincidentally, the first time most anthropomorphic fans had a chance to see me in person. Before Confurence 0, in 1989, there simply wasn’t anywhere that furry fans could meet. The nascent members of furry fandom sometimes bumped into each other at science fiction conventions. In southern California the number of furries was fairly high and the they were relatively close together, so they also met at comics cons, animation clubs, gaming activities and other events. But furries in Poughkeepsie, Madison, Bismarck, Omaha, New Jersey or Atlanta were on their own for the most part. They were only likely to meet two or three other furries at best. I was in a similar situation in Toronto back then. I had only met two local furries – one who ran The Trap Line, and the other who was best known at the time for running a pirate art site. The Trap Line attracted a handful of others over a year or two, including a couple of decent artists, but Toronto was never the hotbed of furry fandom that the greater LA area was. In those years, I was more or less the least-known, best-known artist in furry fandom. Confurence III changed all that because it brought me to Southern California for a furry con for the first time. Then began a number of years in which I attended every Confurence! It turned out that furry cons were damned profitable for me. Also, they gave me a chance to visit LA and people I knew there, including Marc Schirmeister, Steve Martin, E.T. Brian, Bob Guthrie, Doug Winger, Mike Kazaleh, Lou Scarborough and others. Even people who were not furries … quite a lot of them are worth knowing, it turns out. The tide began to turn around 1998, when I noticed that I was making less money in the dealers’ room and art show than before. By 2000, the trend was so clear that I had to face the possibility that I would actually lose money one year. This may not sound like a big deal if you have a regular income, but furry cons were most of my regular income. I was facing a similar situation on the East Coast also, where Anthrocon was becoming less and less of a sure thing. I think 2001 was the last year I attended Confurence. The pickings that year were so slim that I decided to take no more chances. I may have already abandoned Anthrocon by then. A change in how they booked dealers for the next year’s con made it a crap shoot. Not knowing whether you would be in the dealers’ room or not next year made for a very unpredictable income. Moreover, it complicated travel plans. I also greatly resented the implication that my regular attendance at the con was so valued that the concom would put it to a roll of the dice. Maybe they expected that, if I couldn’t be there as a dealer, I would spend a thousand dollars or so to merely attend ? Ha! Ironically, today I must be more or less what I was before 1992, one of the least-known, best-known furry artists again… Mr. Peabody? Sherman can stay home and watch Friendship Is Magic until his brains turn to horse- hair stuffing. If you’ll let me, I’d be honoured to accompany you to 1992 again. 3 Twice Upon a Time Two Stories: Frankenweenie & ParaNorman Neither film is new enough to bother reviewing in detail, but I thought it would be worth comparing them, even at this late date. Frankenweenie was one of Tim Burton’s first films, a 30-minute short made for Disney that resulted in the studio firing his ass. Since then, he has long wanted to re-film at feature length. The other film is ParaNorman , made by the same animators who worked on Neil Gaiman’s Coraline . Odd enough that there should be two undisputed Masters of the Light Macabre, but also that two such similar films should be made in the same year. It does make you wonder if there really are Forces Beyond Our Comprehension. Or perhaps the coincidence is due to nothing more than an army of finks, squealers and industrial spies working in Hollywood. We’ll leave that question unanswered. The Burton film shows its origins in the 1984 live-action film for Disney. Not only are both Frankenweenies thinly disguised homages to those 1950’s Universal monster movies that Burton loved as a kid, they also follow almost identical plots. Little Victor Frankenstein – an otherwise ordinary suburban American kid who lives and breathes horror movies – has a dog, Sparky. Sparky is run over in the street, but Victor has learned from school that electricity is the source of the Life Force.
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